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People who believe that killing an unborn child is the same as killing a child that has been born should always speak loud supporting their opinion.
So many children are lost because people do not see that abortion is wrong.
Why abortion is immoral? Essay | Medicine and Health …
What makes killing wrong is the discontinuation of that experience for the victim.
It is not wrong to kill fetuses because fetuses do not have experiences, activities, or projects to be continued or discontinued.
What about someone who is dying, in intolerable pain and begging for death?
Whether this person had a meaningful past or an intolerable past is irrelevant.
It is the value of the patients
which should decide the morality of killing the patient.
Whether someone has past experiences or not does not work in the explanation of what makes killing wrong.
Therefore discontinuation account can be discarded.
Structural Similarities Argument
Wanton Infliction of Pain on Animal Argument
Similar Characteristics between Anti-Abortion Argument and Wanton Infliction of Pain on Animal Argument Structure
Emmanuel Kant's Account and it's disagreement with Wanton Infliction of Pain on Animals Argument
Author's Argument Against Immanuel Kant's Account
Author's Concluding Remarks
It is wrong to kill us
Natural Property of Argument
Evaluation of the Natural Property
Making a case for the Anti-Abortion based on developed Theory on "Why it is wrong to kill us"
Abortion: Why abortion is immoral (Don Marquis) …
The year is 1959, a pivotal moment in American cultural history, when rock and roll was giving birth to the Sexual Revolution and everything in America culture was about to be turned upside down. Record companies were releasing more than a hundred singles every week and the country was about to explode. , generally considered a trivial little musical about The Fabulous Fifties, is the story of America’s tumultuous crossing over from the 50s to the 60s, throwing over repression and tradition for freedom and adventure (and a generous helping of cultural chaos), a time when the styles and culture of the disengaged and disenfranchised became overpowering symbols of teenage power and autonomy. Originally a rowdy, dangerous, over-sexed, and piece of alternative theatre, was inspired by the rule-busting success of and shows like it, rejecting the trappings of other Broadway musicals for a more authentic, more visceral, more radical theatre experience that revealed great cultural truths about America.